UPN - Nowhere Man


Thomas Veil enters the National Bank in Silver Springs, Maryland and crosses its polished marble floor to descend the stairs to the Safe Deposit, remembering Robson telling him that there's a safety deposit box here that contains everything he knows about them. The clerk stamps his card and leads him into the vault, asking for his ID. She takes his key and inserts it with her own into box 3764. [The words "National Bank Safe Deposit Box #3764" appear in blue across a grid of city streets on a computer monitor. A gold class ring is visible on the hand of a man speaking into a cell phone: "We've got a hit. Silver Springs National Bank, Minnesota and 6th. Chicken's in the coop, people."] Carrying the metal deposit box, Tom follows the clerk to a cubicle. She stands watching until Tom's stare prompts her to close the door. He rests both hands on the box for a moment, then lifts the cover.

Tom slides a folder under his jacket as he walks out of the bank. One of a trio of men wearing hard hats reports into a radio: "Chickie's got wings. He's moving north on 6th." A surveyor picks him up in the cross hairs of his transit. Announcing, "We got'em" into his own radio, he motions forward a white Omega Surveyors van. As Tom tucks the folder more securely under his jacket, a square outline can be seen beneath his blue shirt. He grows conscious of the slowly moving van behind him. He checks behind him after he turns a corner, but the van has disappeared from sight. It moves forward after he proceeds partway down the block. Tom stops walking when he sees two men in dark overcoats approaching from the end of the block, the hand of one inside his coat. Tom slowly turns, then freezes when one of the surveyors jumps out of the van. Tom suddenly sprints for a chain-link fence and vaults over it. The van speeds after him as the three men give chase on foot. It brakes and two more surveyors jump out and scale the fence.

Tom sees a police car stop at the end of the alley he runs through. An officer steps into the passageway and asks if there's a problem. Tom gestures at the pair of surveyors at the other end of the alley, saying that he should ask them; they've been following him. The officer pulls his gun and says, "Give us the folder, Tom." Tom knocks the gun aside and shoves the officer to the ground. He leaps up to pull down a fire escape ladder. A second officer standing by the patrol car fires at Tom as he races up the fire escape. His partner, seated on the ground, joins him, and sparks fly as their shots hit the metal framework. Tom loses his grip on the folder. He pauses to watch it land beside the first police officer, then speeds upward again. The surveyors run for the fire escape, but the officer tells them to forget it. He says they have what they came for. He speaks into his radio: "This is Eagle. The chicken has flown the roost. We got the package." The response: "Bring it home, Eagle." His partner comments that it's a lot of manpower for one lousy folder. He replies that there must be a reason and opens the flap of the folder. He pulls out a few sheets of paper, then quickly grabs more, letting them fall on the hood of the car. Every one is blank. Reaching the roof, Tom pulls an envelope from under his shirt and sits against a wall to open it. The picture inside shows four middle-aged men in white shirts and suspenders hanging from one long gallows pole. Tom flashes back to the scene he remembers from his photograph Hidden Agenda, four hooded figures hanging in an identical tableau. He walks to the Do it Yourself Photo Developing shop, frequently looking about him on the way. As he examines the new photograph, his mind flashes again to Hidden Agenda. He recalls Robson asking exactly how much of the photo had been altered and a technician answering that it's going to take hours to tell that. Tom remembers telling Robson that these people have forced him to question everything and everyone that he ever thought was real, that he had thought he had taken Hidden Agenda in South America but the same gallows was standing in the middle of a clearing on the other side of the Potomac, and except for the people and the palm trees, it was the exact same place that he thought he had taken the picture. Robson had surmised that Tom wasn't surprised when their technician said that the photo had been altered. Tom remembers telling him that it just confirmed what he had already suspected for some time. He enlarges the photograph and prints a closeup of each of the four men. Tom takes a report labeled "Gemini Report" from the envelope. Tucked inside its clear plastic cover is a key card and a small metal key. As Tom walks along a tree-lined country lane, he recalls that the entire file was compiled by an FBI agent, code name Gemini, who is one of Robman's men. The key is to a place in rural Virginia that he apparently uses as a safe house. The dilapidated two-story house with boarded-over windows is framed by two dead trees nearly as tall as the house. Tom pulls off the boards covering the front door. He walks through empty rooms to the kitchen where the plain wooden cabinets hang ajar, empty boxes cluttering the counters. Tom guesses that if this was Gemini's safe haven, he obviously hasn't been here in a long time. With a puzzled look, he considers that it may not be as obvious as he thought. He turns and inserts the key into a small lock above a shelf and the cupboard swings inward, revealing a staircase. At the top of the stairs is a dining room with an oval wooden table and floor-length lace curtains covering the windows. Tom finds that there is no electricity and the wall switches and plugs have been covered or long since replastered. Tom sits in a leather chair in front of a glowing fire, reading the Gemini Report by the light of a kerosene lamp. He ponders the fact that he had comes to this place hoping to find Gemini, but what he found instead was a temporary refuge of his own. Although there's still no indication of who is or how he'd gotten ahold of this photograph, Tom feels strangely at ease there. For the first time in a long time, he feels his questions can wait at least until morning. He falls asleep in the chair, a wineglass on the small table beside him. The computer screen indicates their positions on the street grid as men report in, unsuccessfully searching for Tom. The class ring is visible again as the man instructs them to extend the net two square. He growls that he wants this bird. Tom pauses outside the United States Archives. He recalls the technician highlighting the area around the second victim from the left in Hidden Agenda and Robman refusing to answer Tom's question of who he is. He sees the lined face and white hair of the man who hangs in the same position in the new photograph, hearing himself insist that this guy wasn't even in his photograph. He remembers Robman finally identifying him as Matthew Balkan, a United States senator. In the archives, he enters "Matthew Balkan" into the computer program's search engine. A Washington Dispatch front page appears with the headline: "Indiana senator creates waves." A second, smaller article overlays it, captioned: "Balkan seeks probe." A photograph of five men accompanies another article with the headline: "Senate intelligence committee meets on anti-terrorism bill." Comparing the closeups he takes from an envelope with the men in this photograph, Tom concludes that Gemini's information to Robman was apparently correct: not only was Balkan a US senator, but the other three men in the photograph appear to be US senators as well. As Tom moves the cursor over the four men he recognizes from the photo he found in the safety deposit box, they are identified as Sen. David Blake (R-Wisconsin), Sen. Alan Richards (R-Oklahoma), Sen. Matthew Balkan (R-Indiana) and Sen. Paul Marksten (R-New Hampshire). Tom sees the date, May 7, 1996, and questions how four senators dead for more than a year could suddenly appear in a photograph only two weeks old. Tom identifies the fifth man in the photograph of Senate intelligence committee members by pulling up his photograph, which accompanies an article with the headline: "Special committee defeats anti-terrorism bill." He decides that Senator William Wallace may be able to tell him what happened to the other four. He calls Wallace's office from a pay phone, giving his name to the receptionist and identifying himself as a photographer. He tells her that he took a photograph he thinks the senator might be interested in of four of his colleagues who were on the intelligence committee with him. She transfers the call to a man who identifies himself as Doug Iverman, Senator Wallace's special assistant. Tom says that he's only interested in talking to the senator. Iverman informs him that he screens all the senator's appointments; if Tom wants to talk to Wallace, he has to go through him first. He reminds Tom that he had said something about a photograph of four members of the senate intelligence committee. Tom says that it's of Balkan, Blake, Richards and Marksten--a shot of them hanging from a gallows in a wooded lot outside of Washington. He asks if that rings any bells for him. Iverman glances over at the senator speaking with an assistant and tells Tom that they can meet at his house in Richmond. Tom rejects the suggestion, saying that if it's not going to be in the senator's office, he wants it to be somewhere out in the open. Iverman suggests the park in front of the Treasury building. Tom agrees and instructs Iverman to wear his Senate pass so he can recognize him. Tom sits on a boulder in the park, watching two men play chess. A young man with a Senate pass hanging beneath his overcoat looks around him. Tom calls softly, "Iverman?" Iverman remarks that this had better not be a waste of time. Tom points out that if he thought it was going to be, Iverman wouldn't have come. He asks him to tell him about the Senate intelligence committee. Iverman says that this isn't the way it works. Tom had said he had something that might interest the senator, Iverman verifies that something--he's a long way from the point of asking any questions. Tom informs him that he's not interested in how it works or in playing games--either the senator wants to talk with him or he doesn't. Iverman asks if he has the picture with him. Tom replies that he has a print of it. Iverman asks to see it, saying that if he thinks it's worth the senator's time, they'll move on to the next step. As he and Tom stroll through the park, he comments that Tom's not a beltway regular. Tom says that he doesn't even know what that means. Iverman explains that he meant he wasn't an insider, and Tom replies, "Not by a long shot." Iverman remarks that he's paranoid enough to be one. Tom sardonically tells him that he should get out of Washington more often--there's a fire sale on paranoia right now. He slides an envelope from beneath his waistline, stressing that he's not giving this away. He holds out the photo in front of Iverman, letting him see the four senators dangling from the gallows. With the crack of a gunshot, a bullet pierces the photograph and buries itself in the tree trunk behind it. Iverman's knees buckle and he falls forward into Tom's arms, sliding heavily to the ground. One of the chess players topples over the black king. Tom searches wild-eyed for the shooter, scanning fire escapes and roofs of the surrounding buildings. A woman cries, "Oh, my God!" and kneels beside the fallen Iverman. Tom walks briskly away from the scene. Tom calls Senator Wallace in his office and says that he needs to talk to him about what happened to his assistant today. Wallace sternly tells him to cut to the chase: Did he kill him? Tom answers, "Of course not!"; he wouldn't be calling him if he had, but he was there when he was shot. Wallace asks what this is all about. Tom says that the most he can tell him is that this is about a photograph; he was trying to show Iverman a copy of it when it happened. Wallace asks if he could see this photograph and Tom replies that nothing would please him more, but after what happened today, he's a little nervous about trusting anybody. Wallace checks his appointment book and says that he has a meeting on the hill at three, but asks Tom if he could him after that, about five. He chooses the West Wing of the Smithsonian as the meeting place and promises Tom that if he can help him with the who and why Iverman was killed, he'll have nothing to worry about.

Tom paces by an interior window overlooking the museum entrance. Wallace enters with a man wearing a buff-colored overcoat. The senator whispers a few words to him, then the man steps away. Tom calls from above "Senator?," and quickly backs out of sight. A man on the main floor speaks into a microphone beneath the lapel of his jacket, "I marked him." Another man standing on the edge of an overhead walkway holding his hand over the receiver in his ear swiftly ducks around the corner. Tom steps out behind Wallace, uttering his name. Wallace returns, "Mr. Veil" and motions with his eyes. Two men purposefully approach Tom from front and behind, firmly grasping his arms and propelling him from the room.

Wallace enters a room and one of his security men tells him, "He's clean." The man closes the double doors behind him and his partner hangs an "Exhibit Closed" sign from the door handle. Tom asks briefly, "Satisfied?" Wallace testily points out that his close associate was killed today; he's entitled to be a bit cautious. He asks where the photograph is and Tom tells him he has it in a safe place. Seeing the annoyance on the senator's face, he says that he needs to be a little cautious here himself. Wallace informs him that he could have him arrested on suspicion of murder. Tom laughs mirthlessly as he says, "You won't." Wallace asks why not. Tom replies, "Because it's not how you play the game." Wallace snaps that Tom's wasting his time; if he has something to tell him, tell him now. Tom names the four senators who were on his committee: Balkan, Blake, Richards and Marksten, and explains that the photograph is a shot of the four of them hanging from a gallows about five miles outside of Washington. He says the picture was taken a little over a year ago. Wallace exclaims that it's preposterous and asks how he explains the fact that all four of those men are still alive. Tom asks how he explains all four men changing their minds to vote with him on several important pieces of legislation, all voting with him to defeat a controversial anti-terrorism bill. Wallace asks if he's trying to blackmail him, if that's what this is all about. Tom insists that he's just trying to get to the truth. He argues that there's obviously something rotten going on around here, reminding him that his assistant was shot this morning. When Wallace remarks that quite a few of his staff are convinced that Tom was responsible, Tom wearily points out that he was shot at long-range and Tom was standing less than two feet away from him. Wallace asserts that photographs can be retouched and asks if he has the original negative. Tom tells him that he has it in a safe place. Wallace says that he wants to see that photo. Tom says that it's been a long road here; he can't just give him the photograph without something in return. He wants to know everything about the committee and the four senators; he just wants to be able to find the truth. Saying he needs time to think this over, Wallace starts to leave the room. He stops short when Tom cries, "I don't have time!" He tells Wallace that he has until 8:00 tonight. Wallace asks how he'll find him and Tom answers that he won't, he'll find the senator.

Wallace sits in the tastefully furnished office of FBI Assistant Director Robert Barton, saying that he doesn't think the guy is crazy. Barton comments that it's a wild story and asks why he would even consider it. Wallace reminds him of what went on in that committee last year and asks if he has a better explanation. He says he needs help on this one. Barton tells him, "Not without something more than you've got." Wallace asks if he means the photograph. Barton says that right now all he has are the raving of a madman, possibly a murderer. Wallace explains that Tom wants him to tell him everything he knows. Barton shrugs and says that it's his call. He offers to set something up for him, but Wallace says that he's far too skittish for that; it would scare him away for sure. Barton asks what he's going to do. Wallace leaves the room without answering.

Tom calls the senator's office from a cocktail party, telling him that his time is up. Wallace says that he wants the photograph. Tom replies that he wants answers and Wallace agrees that's fair enough. He tells Tom to bring the photo to his office first thing in the morning and he'll tell him everything he knows.

Wallace steps around his desk to greet Tom, saying that he's glad he could make it and asking if he has the photograph. Tom glances at Wallace's secretary and the senator dismisses her with "That will be all, Maggie. Thank you." He tells Tom that if he's worrying about privacy, the office is swept twice a day for electronic eavesdropping equipment; it goes with being chairman of the Intelligence Committee. He asks for the photo, and Tom slides it from the envelope and hands it to him. Seeing the frozen look on Wallace's face, Tom whispers, "It's real, isn't it?"

Tom asks if he knows what this is all about. Wallace replies that he knows what half of it is about: the domestic terrorism bill which was before their committee last year. He explains that it would have given the government vast powers to monitor the activities of all citizens. With what happened at Oklahoma City and the World Trade Center, the bill looked like a shoo-in. Tom reminds Wallace that he argued against it. Wallace maintains that the bill would have trampled all over the 4th Amendment. He declares that he doesn't believe that the government should have the power, even in times of crisis, to invade the privacy of ordinary citizens. Tom points out that Balkan and the other three senators were originally for the bill and asks what changed their minds. Wallace says that he preferred to think that it was his powers of persuasion, but obviously he was wrong; the change of heart had nothing to do with defending the Constitution. He asserts that they were apparently forced to change their vote, possibly by the threat of this photo. He asks Tom if he wouldn't be influenced if someone sent him a photograph of himself hanging from a gallows with a rope around his neck. Tom asks, "What if the photograph is real?" Wallace insists that these four men are still alive; he's seen each one of them in the last few days. Tom asks how he knows that the men themselves weren't replaced. Wallace exclaims that they're getting into the realm of science fiction and reminds Tom that he's a United States senator. Tom argues that it's not science fiction; Wallace wouldn't be talking to him right now if he thought it was. He states that Wallace's committee knows everything that goes on in the intelligence world and only a fraction of that knowledge ever filters down to the public. He asserts that Wallace is so nervous right now because the technology to kill four senators and then replace them with duplicates exists. Wallace asks Tom to leave the photograph with him, explaining that the number two man in the FBI is a personal friend; if there's any reality to this, perhaps he'll help them. Tom quietly responds, "Reality depends on perspective." Wallace asks how he can reach him. He grows angry when Tom says he'll get ahold of him, yelling at him not to play games with him; whatever this is about, one of his men died because of it. Tom tells him that's all the more reason to find the truth.

Tom calls the FBI from a pay phone and asks to speak to Assistant Director Robman. The operator says that Assistant Director Robman no longer works out of this office. Tom asks if he's been transferred. She says that she can't give that information out and reaches over to press some buttons on the keypad of a black box. Tom points out that he must have gone somewhere if he no longer works at that office. She tells him that information is confidential and asks what he said his name was. Tom quickly hangs up the phone and remembers Robman shouting, "Get out of here! Don't you realize that I can't trust my own people?" He sees himself backing away from the car parked near the clearing with a stunned expression.

Back at the safe house, Tom looks through the documents Gemini has gathered together: photographs, articles and reports. He reflects that with Robman gone, it's more important than ever that he find Gemini. Gemini had collected all this information--he even had copies of photographs that Tom had taken. Tom wonders how that's possible; could Gemini have taken the pictures? Scanning the photographs of the Senate intelligence committee and the four hanging senators, he sees in his mind's eye Hidden Agenda with its four hooded victims and the picture of himself with his camera. He hears Robman ask where the photo was taken and his reply that he thought he had taken it in South America. Seeing the clearing with the gallows pole fallen into the mud, he remembers Robman saying that these people can do whatever they want--they can even mess with his memory. Tom flips through a card file and removes a card with "Internet Access Code" on it.

At the Archives building, Tom enters the IP address into the computer. A female voice repeats the words that appear on the screen: "Restricted Access. Enter your password." Tom types in the word Marathon. The response: "Access denied. Please enter your password. You have 30 seconds to enter your correct password." Tom tries Gemini. The voice greets him, "Welcome, Gemini." The screen adds, "You have security clearance NSD-38-BR-4." Tom finds that Gemini has a direct line to several federal agencies, including the FBI. Whether or not he can find out Robman's destination, he wants at the very least to find out who transferred him. He retrieves an FBI document from the Office of the Director with the stamp "Transfer Order" angled across it in red letters. Key information including date and location are blacked out, but he can see that Robman's transfer order was approved by Robert Barton, assistant director.

Barton's secretary buzzes the intercom on his desk and tells him that she has Senator Wallace's secretary on the line; she'd like to know if a 9:00 dinner at the Sovereign will work. Barton says to tell her that would be perfect. The class ring on his finger glimmers as he presses the buttons of a small cellular phone he takes from his pocket. He speaks with no preface: "Senator Wallace is about to become a liability ... Don't worry. I know exactly what to do."

Dressed in a suit and tie, Tom enters Wallace's office and tells his secretary that he needs to see Senator Wallace right away. She says that the senator has already left for the day. Tom asks if she can tell him how he can reach him. She apologizes, but says she can't do that. Tom insists that he needs to get in touch with the senator right away. She explains that they have an established protocol; there's nothing she can do. Tom bends over the desk, striking it in frustration. She tells him that if he doesn't leave right now, she's going to have to summon security. Tom informs her that she's making a mistake. Another woman enters the office and asks what mistake that would be. Tom says that he needs to talk to the senator. She firmly tells him that she's afraid he's going to have to wait until the morning.

Tom takes a taxi to the senator's house, having decided that what he has to tell Wallace can't wait until morning. The maid who answers the door tells him that the senator has already retired for the evening. Tom says that it's sort of an emergency and asks if she would tell him that Tom Veil is here to see him. Wallace walks towards them through the darkened sitting room and asks who's there. The maid tells him there's a Tom Veil here to see him and that he says it's some kind of an emergency. Wallace repeats the name with puzzlement, questioning if he knows him. Tom asks in stunned tones what he's talking about, insisting that they met this morning. Wallace smiles and suggests that Tom must have him confused with some other senator. He starts to close the door, but Tom blocks it and insists, "No, I don't!" Wallace says that if he'll call his office in the morning, he'll find that he wasn't even on Capitol Hill today. He bids him good night and closes the door. Tom calls "Senator! Senator!" as he tries to stop it from closing, but a man with a dour face steps over inside the house and shuts it firmly.

Back at the safe house, Tom prepares two folders of documents, with Balkan's death picture on top of each stack, and seals them in large yellow envelopes. He reflects that he should have seen this coming: Every time he found a real ally, someone who could help him, they wound end up getting erased. He has no choice but to hide the negatives and start all over again. He takes the strip of negatives and reaches above him into the track of the sliding wooden doors. His fingers feel something already in the hiding place. He pulls out a second negative strip and holds the two side by side. In the position where his negative has Hidden Agenda, the other strip has the negative of the four senators' execution. Tom wonders if it was coincidence that Gemini had picked the same hiding place for his own set of negatives or if it was something else. He puts both strips in the hiding place over the door and lingers in the doorway, his face unsettled as he searches for an explanation. Finally, he turns away and picks up the key card before snuffing the candle and turning down the wick of the kerosene lamp.

Tom carries the two yellow envelopes with him as he walks along a busy street to a mailbox, where he mails one of them. They contain every scrap of information about them, whether collected by Gemini or Tom. He has decided that it's time to put his own endgame into motion--he has to flush Barton out.

Barton instructs his secretary to put Tom's call through. Tom says that he wants to make this fast and sweet: Barton is to meet him at the base of the Washington monument in forty minutes. He's to come alone and be on time. Barton leans forward in his chair as he hears Tom say that he has Gemini's entire file and both sets of negatives. Tom tells him he's willing to trade it all in exchange for his freedom. He hangs up before Barton can speak.

As Tom walks past a Federal Bureau of Investigation plaque on the side of a building, a blond-haired man smoking a cigar walks to the desk in his shadowy office and presses the button of the speakerphone. Barton says that Veil wants to meet, that he has Gemini's entire file and both sets of negatives and wants to trade for his freedom. The man remarks that it sounds like some kind of trap. He says he's getting too close; it's time to shut Project Gemini down, once and for all. He instructs Barton to dump the computer files and get rid of everything. Barton says he's on his way.

Barton uses a key card to open a grilled gate between moss-covered stone pillars. He drives over a bridge fording a stream to reach a large stone house, once more using the key card to enter. Squares with close-ups of the senators obscure the complete photo of the four hanging men on the computer monitor before Barton as he shreds computer disks and sheets of paper, adding to the curls of shredded paper heaped on the floor. Tom approaches stealthily and suddenly jerks Barton's head back, following with a blow to the stomach that doubles him over, allowing Tom to grab the gun from his holster. Tom swiftly works the slide and points the gun at Barton. Observing a white square flash over the picture on the monitor, Tom bitterly remarks that this must be pretty important stuff, to send the number two man at the FBI to destroy it. Barton tells him that this is just one little operation; he's not going to be able to change anything. Tom asks if he calls the deaths of five senators a little operation. Barton laughs and scoffs that it sounds like the ravings of a crazy man. Tom kicks the seated man in the stomach. He angrily demands what happened to Senator Wallace's assistant? Was it supposed to be a warning to Wallace? He says that when he didn't play ball, they replaced him. Barton calmly tells him that he should quit while he's ahead; if he learns anything more, he's going to be as expendable as anyone else. Tom holds up the key card and orders Barton to tell him about Gemini--why did he have a key card to get into this place? Barton claims that he never heard of the man. Tom states that Gemini was on the verge of exposing the whole thing and that's why he was dangerous to them. Barton laughs and says that he has things a little turned around. He sneers that Gemini knew even less about this thing than Tom does. Tom asks who Gemini is. Barton doesn't answer and Tom suddenly lashes him across the face with the gun. He steps close and says with quiet menace that he wants him to tell him right now just what exactly he knows; why chase him around the country with a negative that's not even real? Barton remarks that it's an old operative's game, a remnant of the Cold War. Tom rages that he was never an operative, so why doesn't Barton just spell it out for him? Infuriated by Barton's amusement, Tom lashes him across the face again. Barton tells him that when you protect a false memory long enough, it becomes real. Tom asks why Hidden Agenda, why they wanted him to believe so badly that Hidden Agenda was shot in the jungle? Barton sneers that he still doesn't get it.

Tom quietly says that he's just tired of the games and points the pistol at Barton again. Barton insists that Tom can't intimidate him. Tom shoots him in the thigh and turns away in revulsion as Barton shouts in pain and grabs his leg. He forces the horror from his face and manages to give Barton a blank-faced shrug when he turns around. Barton splutters that Hidden Agenda was always as much about Tom as it was about concealing the deaths of four senators. It was about testing the limits of his belief. He tells Tom he was part of the project, right from the beginning. Tom asks "Why? Why am I so important to you people?" Barton shouts, "Come on, Veil! You're two moves from checkmate!" Tom orders him to tell him about Gemini. Barton says that Gemini IS the game. Fighting to contain his rage, Tom fires two shots into the shredded paper on the floor and tells Barton that the next shot is through his head. Barton gestures towards a metal cabinet and tells Tom that what he's looking for is in there. Tom kicks him in the chest, propelling the chair backwards on its rollers. He pulls open the top drawer and sees that it's filled with videotape cases, neatly labeled with the names of constellations. Taking the one labeled Gemini, he triumphantly tosses the case aside and inserts the tape into a VCR. Barton raises a tablet to his mouth with bloody fingers. Tom shouts "No! No!" and runs over as the man topples onto the floor. Tom furiously cries that he can't die on him. The man gasps that Tom can't protect himself anymore; "You .. You're Gemini!"

The computer screen with the senators' pictures fades out to black. The screen next to it shows Tom in white gown and slacks, reclining on a hospital couch with an IV running into his arm. A voice instructs in level tones: "Let's start from the beginning. This is your house in Evanston, Illinois." Tom sees the house he recognizes as his own, followed by a picture of his wife. "This is your beautiful wife, Alyson. Your best friend is Larry Levy. Now repeat everything you've learned." With expressionless voice, Tom recites, "I live in Evanston, Illinois. My wife's name is Alyson. My best friend is Larry Levy." The voice asks what his name is and his face serenely blank, he says, "My name is Thomas Veil."

Tom watched the tape with stoic despair. Now his face trembles and he blinks away tears as he looks away from the screen. With a loud sound effect of breaking glass, the solitary figure standing in the center of the computer room fades into Thomas Veil's face superimposed over the view of the Washington and Lincoln monuments from across the Potomac river.

Synopsis © 1996 Marge Brashier (brashier@tcccom.net)
Do not post this synopsis on other web sites, mail lists, etc., without permission.
Used by permission.
May 26, 1996